>>>>From Alan Young
>>> Reed's C7 in m. 1 is most enlightening! But I still don't much like any
of
>>> the solutions to the change in m. 4-5. Bm7 works better than G after the
F#
>>> chord, though, to my ear. And I think, Reed, that you meant to write F#
>>> there, not F?
>>No, I'm pretty sure Reed meant F7 ! This is not a ii-V-i pattern to the
Bm7,
>>but rather a #IVm7b5->IVm6->I with the I being Gmaj7, or a plagal cadence
>>with a preparation chord.
>>Pedro
> No, it was a typo. I meant F#7.
> To understand this chord motion , see my post on "I Remember You" in
> the editted digests.
>
> reed
Sorry Reed for the mistake, but I really like the C#m7b5->Cm6->Gmaj7 there.
I have trouble in accepting the F#7, unless you use Bm7 in bar5.
I'll check on "I Remember You" when I get the chance.
Pedro